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Stories from Behind the Wall: The Art of Curating Wall to Wall

By Laura Kaminsky, Associate Artistic Director
Published on May 4, 2010


As early as fall 2008, I began imagining Wall to Wall Behind the Wall: Music from the Soviet Era on May 15, 2010. I started with repertoire, the amazing wealth of music coming from Central and Eastern Europe that, to my mind, ear, and heart, comprises some of the most powerful, beautiful and important music composed in the past 75 years.
Wall to Wall Behind the Wall
It was important to me to represent many different nationalities, musical aesthetics, and political viewpoints over the course of the day. Also critical was creating a nice flow – solo and chamber, vocal and orchestral, lyrical versus angular, consonant versus dissonant, overtly political versus subversive or apolitical, popular versus obscure, standard repertoire by great masters versus newer works by younger composers who came of age during a transitional period.

Questions I was often asked included “how did you choose who is performing” and “why did you decide on what is being performed?” The answer to these questions is, of course, all that is involved in the art of curating – making  interesting choices as to artists and repertoire and then building a project – be it a series or a festival or a whole season, or in the case of Wall to Wall, a daylong marathon.

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Stories from Behind the Wall: Sergei Slonimsky

By Laura Kaminsky, Associate Artistic Director
Published on April 27, 2010


I first met Sergei Slonimsky last August during my cultural research fellowship in St. Petersburg supported by the Likhachev Foundation. If his name sounds familiar, he is the nephew of the “Lexicon of Musical Invective” Nicholas Slonimsky. How perfect that the Likhachev offered these fellowships just as I was beginning to plan for the 2010 Wall to Wall. This was a unique and incredible opportunity to go to Russia to conduct research on some aspect of Russian culture to bring back to the U.S. for greater dissemination.

St. PetersburgWhile in St. Petersburg, my goal was to find music and musicians for possible inclusion in Wall to Wall. I spent time at the National Library, the Rimsky Korsakov State Conservatory of Music Library, and with composers, presenters, publishers and performers. I came back to New York with a suitcase full of scores and recordings.

For those of you who know about Wall to Wall, please skip this paragraph, but for those of you who have found us for the first time, please read on. Wall to Wall is Symphony Space’s originating program – it started 32 years ago with an all-day celebration of the music of . Every year since, we have presented a differently themed Wall to Wall – from Beethoven to Miles Davis, Mozart to Sondheim, Gershwin to Stravinsky, and Duke Ellington to John Cage, with Wall to Wall Broadway and Wall to Wall Opera thrown in for good measure. Literally hundreds of New York’s finest musicians assemble each year to participate in that season’s themed program, and each year, thousands come, often standing in line waiting for the chance to hear a segment of the non-stop musical day.

Sergei Slonimsky, now 77 years old, is one of St. Petersburg’s pre-eminent composers coming directly from the Shostakovich lineage, and now a senior composer at the Rimsky Korsakov State Conservatory of Music. He is coming to New York to participate in Wall to Wall Behind the Wall, accompanying the St. Petersburg Chamber Philharmonic on its U.S. debut. The Philharmonic will be presenting the U.S. premiere of Slonimsky’s “Jewish Rhapsody for Piano, String, Flute and Percussion” with renowned soloists Gilbert Kalish on piano and Eugenia Zukerman on flute. The “Jewish Rhapsody” will be the grand finale to our 12 hour marathon of music from the Soviet Era. Mr. Slonimsky will speak briefly to the audience about his piece b efore the premiere. I’m also pleased to note that Gilbert Kalish will travel to St. Petersburg next season to perform the work there; it will be his first trip to Russia, and, in the spirit of cross-cultural dialogue, this is an important collaboration.


Sergi Slominsky’s Concerto Buffo for Chamber Orchestra performed by the Chamber Orchestra of St. Petersburg Philharmonic,
Edward Serov conductor

Also featured will be Slonimsky’s powerful and evocative “Violin Sonata” performed by Laurie Smukler (violin) and Margaret Kampmeier (piano). Other special programming surrounding Mr. Slonimsky’s participation includes the young composer, Timofey Buzina, a former student of Slonimsky’s, also coming from St. Petersburg for the occasion, was commissioned by Symphony Space to compose a dynamic short work to open the last segment of the day, “Rocking Shadows Overture,” featuring the Philharmonic and the Iktus Percussion Quartet.


Timofey Buzina’s Shaman Suite Movement I
performed by the St. Petersburg Philharmonic

Earlier in the day, the Poulenc Trio from Baltimore will be coming to New York to offer the New York premiere of Natalya Medvedoskaya’s “First Snow.” The pianist of the trio is a former student of the St. Petersburg Conservatory, as is the composer (she studied with Slonimsky). Their participation in Wall to Wall Behind the Wall will be a surprise reunion for Mr. Slonimsky.

I hope you will join me in welcoming Sergei and Raisa (his wife) Slonimsky to New York in May.

Slominsky photo credit: Wikipedia

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The final days of my cultural trip to Russia

By Laura Kaminsky, Associate Artistic Director
Published on September 3, 2009


With Igor Rogaliov

With Igor Rogaliov

Monday the 31st of August was, finally, a quieter day, with but two formal meetings, the first with Boris Filanovsky, a mid-career composer and leader in Pro Arte; he is also the center of a group of composers who go by STRESS (Structural Resistance Group), whose mission is, as Boris put it, “to overcome stereotypes and work with problems of perception.” As well as his life as a composer, Boris is also a cultural journalist with regular columns in a print journal and a webzine.  It was interesting to meet with someone outside of the great conservatory tradition, although of course Boris was trained at the Conservatory. My sense is that he and his colleagues in STRESS represent the “downtown elite” and the new wave of post-Shostakovich era composers.

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I Played Rimsky Korsakoff’s Piano!

By Laura Kaminsky, Associate Artistic Director
Published on August 31, 2009


Petrodvorets in the rain

Petrodvorets in the rain

The time here is flying by as every day is full of activities, people, and sights. A group of the fellows went to the Theater and Music Museums with Anna Shulgat serving as our excellent guide. A native of St. Petersburg, she recently completed a graduate degree at SUNY Stony Brook in dramatic arts, and so is both fluent in English and incredibly knowledgeable.

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An Update from St. Petersburg

By Laura Kaminsky, Associate Artistic Director
Published on August 26, 2009


Mariinsky Theatre

  Mariinsky Theatre

An incredible day. Early morning swim and sauna followed by another sumptuous breakfast with my colleagues, then a walk through town, past the Mariinsky Theater to the Rimsky-Korsakov Conservatory of Music where I met with four composers who presented their work in a master class-workshop setting; I heard four distinct styles of music and was quite impressed with two of the four. One of these two, in addition to a large work for soprano and orchestra that had recently won an international prize in Italy, presented a short animated film with original music that was clever and absorbing.

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Exploring Music in St. Petersburg

By Laura Kaminsky, Associate Artistic Director
Published on August 25, 2009


After arriving in St. Petersburg yesterday afternoon, after connecting through Helsinki, with its clean, modern airport, I am beginning to see the glories of St. Petersburg. The city, like Venice and Amsterdam, is a city of canals and bridges, and its architectural diversity–reflecting many centuries of urban development and a mix of cultures–is truly spectacular, and, as I am discovering, one that can be conquered easily on foot. Being able to walk a city is to be able to know it, and I am going to plan my time here so as to allow for walking from one meeting to another.
I am here on a Cultural Fellowship sponsored by the Likhachev Foundation to research Russian music from the Revolution to the fall of the Berlin Wall with the hope of discovering interesting music to present at Symphony Space’s Wall to Wall Behind the Wall on May 15th. While the annual music marathon will be replete with some of the great masters from the former Soviet Union and other communist countries–including, of course, Shostakovich, Schnittke, Bartok, Ligeti, Penderecki, and more–I want to bring to New Yorkers music not yet known in the U.S.
It is truly an honor to have been awarded this fellowship, and I, along with the other fellows, are walking around in a state of disbelief. Our hotel is really nice, our host, Elena Vitenberg, the Fellowship Program’s Coordinator, is totally organized and focused and filled with positive energy, and our individual programs have been well-designed to maximize our time here.
This is the second year of the Likhachev Foundation’s Cultural Fellowship program, designed to foment cultural awareness and appreciation of Russian culture in America. Projects range from museum to literary to scientific, and now, with Wall to Wall Behind the Wall, music.
So, after arriving yesterday afternoon, most of my time was spent arranging for an international mobile phone and to get wifi for my laptop. Then, the welcome dinner in the banquet hall of the hotel, with panoramic views of the city. Opening remarks by the Likahachev Foundation’s Executive Director, Alexander Kobak, and then a welcome by the well-groomed hotel manager in her spike heels and close-fitting power suit, proud to be hosting our group, were followed by vodka and champagne toasts and a delicious meal. A briefing to review our schedule of meetings, and then the weary travelers headed off to bed.
This morning I wakened very early but used the time to write some notes to myself in preparation for the day’s meetings before heading off to the spa for an early swim and sauna before breakfast. The morning meal was as I had expected: tables of food laid out regally that included fresh fruit, fruit salad, cereals, yogurt, sweet pastries, brown bread, white bread, eggs, cheeses, ham and other meats, tomato and cucumber salad, and more tables loaded with food that I never even bothered to investigate.
A mini-bus took us all to the Foundation offices where we were given an hour and a half history of Likhachev and a quick review of 20th century Russian political history. From there, lunch, and then we split off into our first project-related meetings.
Today I met with musicologist and critic Olga Manulkina who is writing a book on American music from Ives to Adams, but who knows the whole history of Russian music and walked me through the late 19th century to today, helping me to organize my research. With her was Katya Puzankova, the music coordinator of St. Petersburg’s contemporary arts foundation, Pro Arte. After our meeting, they left me at one of the major canals and I walked the few miles back to the hotel, getting a sense of the elegant and beautifully laid out city.

St. Petersburg 3

After arriving in St. Petersburg yesterday afternoon, after connecting through Helsinki, with its clean, modern airport, I am beginning to see the glories of St. Petersburg. The city, like Venice and Amsterdam, is a city of canals and bridges, and its architectural diversity–reflecting many centuries of urban development and a mix of cultures–is truly spectacular, and, as I am discovering, one that can be conquered easily on foot. Being able to walk a city is to be able to know it, and I am going to plan my time here so as to allow for walking from one meeting to another.

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My internship at Symphony Space

By Kristin Cook
Published on June 4, 2009


I will always remember that my Symphony Space adventure began on a monumental day: Inauguration Day! Just two weeks earlier I had accepted the open slot for a marketing internship and knew I was in for a long haul considering I lived two hours North-West in a rural farm town called Warwick. That day, my alarm sounded at 5:45 am, I boarded the bus at 6:30 am and two hours later joined a sea of enthusiastic Upper West Siders flooding into the Symphony Space lobby. As a responsible intern would do, I had researched Symphony Space through their website well ahead of time and knew that they were offering a free televised broadcast of the Inauguration ceremony in their main theatre. Needless to say, the event was a smash hit leaving everyone in the best of spirits. Somewhere between the post-ceremony events and the throngs of giddy New Yorkers stuffing donations boxes with Washingtons, Lincolns (because Lincoln was appropriate for the occasion), and even Jacksons, I finally made my way up to the Marketing suite where the real work began.

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The Musical that Changed My Life

By Cynthia Elliott
Published on April 9, 2009


Getting ready for Wall to Wall Broadway, we’re asking people to name The Musical that Changed Your Life. Isaiah asked me, and my answer was immediate: West Side Story. I was about ten or eleven years old, slogging through the usual beginner/intermediate piano repertoire with my wonderful teacher, Hadassah Sahr. I was not a particularly inspired piano student, to say the least. Until one day, she presented me with the piano score for West Side Story. I fell in love with it and would play practically nothing else for the next year. The rest of my family probably once loved this music, too, but after 12 months of unrelenting “Tonight,” “Maria,” “Somewhere,” “Something’s Coming,” etc., I think they haven’t been ready to hear it again until the current revival—and I won’t say how many years that’s been.

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